Apocalypse Now: Visual Trauma

Throughout its entirety, the Vietnam War was a keen talking point in the American psyche. Since Americas involvement began in 1962, there had been strong opposition. One of the most iconic things taken from the Vietnam War was the trauma it caused those soldiers who served in it, due to the brutal (but necessary) tactics of the Vietcong and often the unbelievably cruel acts U.S. soldiers were expected to commit. This is especially true in the film industry, and is even more true of Francis Ford Coppola’s masterpiece, Apocalypse Now (1979). In this essay, we will look at how Coppola uses visuals to display trauma, specifically in the drunk bedroom scene.

            The scene opens with a ceiling fan spinning, evoking images of a helicopter, as well as make the sounds of its blades. Immediately afterwards we see Captain Benjamins drowsy, hazy eyes staring upwards, almost in a dreamlike state. This helps us understand that the fan is bringing back these memories of Vietnam, even though he hasn’t even left the country yet. The captains dreamlike stare is often viewed throughout this scene, referencing the “Thousand Yard Stare” that is often visible in PTSD victims. This simple stare really helps the audience see what kind of trauma the captain has experienced, as he constantly looks like he is remembering something.

            Secondly, we see the captain drunk and freaking out in his room. It starts with him seemingly pretending to fight something. The main trauma we see inflicted on him here is his alcoholism and how it leads him to bouts of anger. He drinks to forget and to stop feeling, but all it seems to do is bring him closer to these memories, to his trauma. After cutting his hand, the captain breaks down into tears, crying by the side of his bed. The trauma is all in Martin Sheens face, acted wonderfully. We see his anguished face until the screen fades to black.

            To conclude this scene, the ways it shows trauma is dependent primarily on its actor. Coppola allows Sheens acting to control the scene, but sets it up beautifully by bringing the viewer into his world. The use of dull lighting makes the whole scene feel more depressed and downbeat, and the visuals of the captain’s wife leave us remembering that these soldiers left a lot behind. The visual trauma is overwhelming and uncomfortable, something all too real for a lot of veterans in the United States today.

Jack Monk

Bibliography:

Films:

• ·         Apocalypse Now (1979, Omni Zoetrope)